This CD should be available in (good) stores, amazon (if it has ever been good).
At the moment, if you are interested, you can listen to samples of it on 
and on

To order it, you can send me an email:
fsarhan / at / fsarhan. com

Soon (who knows when?), it should available on itunes.

all these photos are from L'Nfer performance in Strasbourg,
festival Musica 2007

What is this CD about ?

The excerpts of the two works presented on this record, l'Nfer and Orloff have in common to start with a testimony, and to be rooted in a non musical material, on which music projects its colours and give new meanings.

 l'Nfer is an autobiographical narration improvised in front of the camera, later notated as carefully as possible, including pitches, rhythms and gestures. 

I believe that in raw material, in its apparent mediocrity, lies an emotional treasury, full of energy, mystery and potential. 

Therefore i used this spoken narration as respectfully as possible, without trying to improve its mistakes and, and i built an instrumental coffin, used to double, accompany, ponctuates the speech, and moreover gives evidence to this spoken material.

In parallel with my documentary voice, i needed an obvious musical style, so that the contrast between written and unforeseen would be as clear as possible.

But it is a cradle as well as a grave because this notation and reproduction kills its freshness and fragility.

My voice (identically repeated on stage as well as in this recording) is wrapped into concentric layers: instruments, others musicians' voices, which pop in to comment, to judge or to double my voice. I also introduced interludes which make a background, a counterpoint to the travel's narration, sort of resting areas on the highway, so to speak. 

With Orloff, the project is quite similar, since music develops itself from possible dialogs of an invented scary movie. There is a strong link running from the daily experiences in an improvised speech in l'Nfer to the clichés of cinema (or what's left of it) with Orloff: the external voice, the found object, the daily, dirty, non artistic orality, captured in music writing. 

In both cases i used a pop and jazz rock instrumentation. It has nothing to do either with nostalgy or fashion, but to manipulate pre mashed up material, a cooked language. Its musical evidence is strong enough to fight with the non musicality of the spoken voice.

To build a drama with these rich and confused ideas carries the enthousiasm of "finding mystery inside the light" (Arthur Cravan)

However the music is completely written: its hull is riveted strongly enough to follow the text with an extreme precision, to draw plans and developements  with free interludes, when on the deck musicians can walk freely: i must mention here the numerous solos by Reinhold Braig, on fender Rhodes, by Mathieu Metzger, on saxophone, Jean-Luc Plouvier in Hell, online, and percussion riffs by Gerrit Nulens all through l'Nfer. 

At last, this flexible music would have kept drab without Jarek Frankowski's  wonderful ear, who enlightened all Orloff 's details by mixing it, and JL Plouvier's one who did the same for l'Nfer.


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